[New York Diary] K-Classic (feat. Gukppong)

Stories from Everyday Life in America, Straight from New York

[Asia Economy New York=Special Correspondent Seolgina Jo] During the recent Lunar New Year holiday, I took an Amtrak train to Philadelphia. It was to see the collaboration between Korea’s proud classical star pianist Seong-Jin Cho and the Philadelphia Orchestra. The program featured Brahms, a piece Seong-Jin Cho once said in an interview he wanted to play when he turned 30. (Born in 1994, Seong-Jin Cho turned 30 this year according to the Korean age system.)

Verizon Hall, filled with an audience, was filled with a strange tension as Seong-Jin Cho entered. It seemed as if everyone was holding their breath, watching his every move without swallowing. Only after the faint sound of the horn echoed and the piano performance began, as if in conversation, could the audience finally breathe properly.

Lily Lee, a Korean-American who came from New Jersey to see Seong-Jin Cho’s performance, shared her thoughts: “The hardest part was holding back the applause and admiration that seemed about to burst out unconsciously.” There were definitely moments when I wanted to ignore the concert etiquette that requires applause only after all movements are finished. Seeing the thunderous standing ovation and the many audience members calling for an encore, I felt a surge of emotion as a fellow Korean. Is this what they call 'gukppong' (nationalistic pride)?

News of pianist Seong-Jin Cho’s performances is a major interest not only in Korea but also among classical music fans in the United States. Winning the prestigious Chopin International Piano Competition is certainly not something just anyone can achieve. Last winter, Mr. Brown, a 60-year-old classical fan who happened to sit next to me at Carnegie Hall in New York, said upon hearing I was from Korea, “I’m looking forward to Seong-Jin Cho’s April concert,” adding, “His performance is deep yet sweet, grand yet sharp. Korea has a treasure.” Seong-Jin Cho is scheduled to visit New York in April to perform works by Handel, Brahms, and Schumann at Carnegie Hall.

Recently, another Korean classical star who has captivated the world’s attention has emerged. Pianist Yunchan Lim, the youngest winner of the Van Cliburn International Competition. When I heard the news of Yunchan Lim’s collaboration with the New York Philharmonic in May last year, I hurriedly tried to book tickets, but there were no seats available.

Considering how much his performance at the competition amazed the world, this sold-out news is only natural. The program features Rachmaninoff’s Piano Concerto No. 3. Performing it again with the New York Philharmonic, which the New York Times (NYT) selected as one of the ‘Top 10 Classical Performances Worldwide in 2022,’ will surely be a sublime moment for New York’s classical fans. Yunchan Lim recently made a successful debut at London’s Wigmore Hall and has officially started his world tour as a competition winner. The Times reportedly gave his performance an exceptional five-star rating.

Is it only Seong-Jin Cho and Yunchan Lim? The year 2022 was a year when young Korean performers consecutively won top-tier international competitions, leading to the widespread use of the term ‘K-Classic.’ In Europe, the birthplace of classical music, a documentary titled ‘K Classic Generation’ was released, revealing the secret behind ‘K-Classic.’ Director Thierry Luro noted that all the winners of the four major competitions?Montreal, Busoni, Queen Elisabeth, and Van Cliburn?over the past 12 months were Korean, stating, “The future of classical music may lie in Korea.”

Following K-pop, K-drama, and K-food, now comes K-Classic... There are criticisms that the ‘K’ prefix is excessive nationalistic pride or tiresome. But so what if it is nationalistic pride? And is it really just that? Every time I witness the achievements of Koreans in New York, the global economic and cultural hub, I am reminded of how strong Korea’s soft power has become. This, in turn, directly contributes to national strength. The high value-added service industry that manufacturing powerhouse Korea has long sought is precisely this cultural industry. This is why we cannot help but look forward to and closely watch the future of K-Classic that young Korean performers will build.